Es un clásico de Brian de Palma, pero hubo un tiempo en que Atrapado por su pasado (1993), el thriller criminal protagonizado por Al Pacino, pudo ser un éxito de Abel Ferrara (Bronx, Nueva York, 75 años). A principios de los noventa el legendario director llevaba un año ensayando con Al Pacino cuando apareció un guionista nuevo. Semanas después, Tom Pollock, jefe de Universal, le llamó aparte durante una cena en un restaurante de Cannes para hablarle de otra nueva versión del guion, lo cual a Ferrara le pareció una tomadura de pelo. Dejó su botella de vino blanco en la mesa de Pollock antes de ir a hablar con él, y al volver la cogió y se la metió dentro de la chaqueta, por esa costumbre neoyorquina de esconder el alcohol al salir a la calle. A los pocos días, le despidieron: alguien fue contando que le había robado una botella a Pollock.
It’s a classic from Brian De Palma, but there was a time when ‘Trapped by his Past’ (1993), the criminal thriller starring Al Pacino, could have been a hit for Abel Ferrara (Bronx, New York, 75 years old). In the early nineties, the legendary director had been rehearsing with Al Pacino for a year when a new screenwriter appeared. A few weeks later, Tom Pollock, the head of Universal, pulled him aside during a dinner at a Cannes restaurant to discuss another new version of the script, which Ferrara found to be an insult. She left her bottle of white wine on Pollock’s table before going to talk to him, and upon returning, she picked it up and hid it inside her coat, due to the New York habit of concealing alcohol when going outside. Al corto plazo, lo despidieron: alguien había relatado que él había tomado una botella de Pollock sin autorización. Continue reading
It’s a classic from Brian De Palma, but there was a time when ‘Trapped by his Past’ (1993), the criminal thriller starring Al Pacino, could have been a hit for Abel Ferrara (Bronx, New York, 75 years old). In the early nineties, the legendary director had been rehearsing with Al Pacino for a year when a new screenwriter appeared. A few weeks later, Tom Pollock, the head of Universal, pulled him aside during a dinner at a Cannes restaurant to discuss another new version of the script, which Ferrara found to be an insult. She left her bottle of white wine on Pollock’s table before going to talk to him, and upon returning, she picked it up and hid it inside her coat, due to the New York habit of concealing alcohol when going outside. After a few days, they fired him: someone had been keeping track of him stealing a bottle from Pollock. It’s an anecdote that fits perfectly with Abel Ferrara’s erratic image, the unstoppable director, who has been through many turns, almost always on the verge of disaster, and who has cultivated his own myth beyond his work. The legendary filmmaker has been making gorgeous films about guilt, desire, violence, and faith for over five decades, many of them set in a New York of camels, gangsters, questionable law enforcement agents, and existential vampires: from the corrupt cop in Lieutenant (1992) to the industrial spy in New Rose Hotel (1998). Individuals, such as him, with a desire for self-destruction.. Abel Ferrara, during the filming of his movie ‘The Funeral’ (201999). TCD/Prod. DB, TCD/Production.
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